Quality Review Study Group Binder Master Table of Contents

Logistical information (1)- (documents not included, to be inserted when complete)Schedule of Study Group MeetingsStaff Contact SheetParticipant Contact Sheet

Quality Documents (2)4 Aspects of Quality Diagram………………………………………………………….. 2Summary of Approach…………………………………………………………………… 3*Events & Tools for Quality Visits…………………………………………………… 4*Dimensions of Quality Teaching & Learning………………………………….. 5

Tools for Site Visits (3)*Site Visit Template……………………………………………………………………….. 7Pre Observation (Possibility of Practice/SMART Goal) Discussion…... 10*Observation Tool (Running record template)……………………………….. 11*Principal Interview……………………………………………………………………….. 13Student Interview…………………………………………………………………………. 17Student Waiver……………………………………………………………………………… 18 Post Observation Teacher Debrief…………………………………………………. 19 *Profile of Arts Learning……………………………………………………………….. 20*Summary Sheet…………………………………………………………………………….. 22

Examples (4)(documents not included in electronic copy of binder)SMART Goals Study Guide – will be distributed at orientation *How to Document – available on creatingquality.org*Sample of Running Record – available on creatingquality.org

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A Broad Approach to Developing a System-Wide View of QualitySnapshots of Practice across the System

Broad Goal Develop a plan to collect information to support the quality of arts teaching and learning throughout Boston public schools that is:

Voluntary Constructive Focused on teaching and learning in the arts (supports, community of learners in the

classroom, not teacher evaluation)Specific Goal To visit a representative sample of Boston arts education programs in order to provide a system-

wide view of the current levels of quality in three major areas: System and School Supports Teaching and Learning in Classrooms Student Work

Based on Process: Instructional Rounds in BPSDimensions: Quality frameworks: Studio Habits, Thriving Minds, BYAEPDiscussions of the Quality Working Group

ProcessSites Volunteer schools (pre-K – 5, K – 8, 6 – 8, 9-12), including schools with opportunities to observe

some combination of: Classroom instruction by arts specialist (e.g. a music teacher) Cultural partner with an in-school program Arts integration

Visiting Team 2 individuals (arts specialist, classroom teacher, teaching/community artist, researcher) Focused on a specific arts area (e.g. music, visual arts, etc.) Trained using Boston’s Dimensions of Quality

Training Training in teams to: Interview principals, students and relevant others Practice observation skills and data collection Give constructive feedback both pre and post observation Using video clips of classroom practice

School Visit Arranged with school personnel, letter and materials in advancePre-observation Meeting with host teacher/teaching artist

Collect background information on students and circumstances to be informed observers Learn about the curriculum, lesson and strategies that will be on view during the site visit Identify a problem of practice to focus on when conducting the observation

Meeting with Principal and relevant others Learn about the school and its arts programs Collect data on the system and school-level supports for arts learning Using a standardized set of questions

2 rounds of observation/day/team 30 -45 minutes low-inference running record of arts classrooms Short Interviews with two students from the class Followed by time for discussion among visitors

Post-observation Meeting with host teacher/teaching artist Opportunity to give constructive feedback and ask questions.

Study Group Discussion Process observations and interviews in teacher – observer groupings, using a tuning

protocol (What did we notice, what did we wonder, followed by response from the teacher)

Discuss what this suggests about supports needed for quality teaching and learningData generation Data on the School and System Supports across the representative sample of schools

Aggregate profiles of Quality of Teaching and Learning across the representative sample of schools

Recommendations for the supports needed to build practice.

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School Visits for Quality Study Group in Arts LearningDesigned for Boston Elementary and Middle Schools

Event Tools Yield

Before School MeetingsTraining session Binder of materials Establish common goals and language

Meeting with teachers and cultural partners to be observed

Context for the observations

SMART goals/possibility of practice (the area where the host teacher/partner is interested in having some in-depth observation)

Inform the observations that will take place during the course of the school day

Nominate the issues of practices that teachers/partners want to focus on

ObservationsClassroom/Session Observation # 1 (45 min – 1 hr.)

Low-inference running records Create evidence base for later discussions

Interviews with 2 – 3 students from Obs. #1(15 min.)

Interviews of 2 - 3 students seen in earlier class (or a chance to examine current student work)

Collect and record youth voice on the structure, content, and significance of their arts education

Classroom/SessionObservation #2 (45 min – 1 hr.)

Low-inference running records Create evidence-base for later discussions

Interviews with 2 – 3 students from Obs.#2(15 min.)

Interviews of 2 - 3 students seen in earlier class (or a chance to examine current student work)

Collect and record youth voice on the structure, content, and significance of their arts education

Time for Observers to Work on Observations and ImplicationsDebrief/Reflection Meeting with Hosting Teacher/Partner

Discussion between observers and host teacher/partner(45 min.)

Structured protocol for sharing: What was observed about the

focus of practice issue? What are the strengths of the

practice? What are the “frontiers” for the

practice?o In this classroom?o In this field of arts

education (e.g., dance)o In district policy?o In partnerships with

cultural partners?

Themes/issues by disciplines (e.g. music)

Themes/issues by grade levels (e.g., primary grades)

Needs at the school and the district level

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Dimensions for the Classroom Observations: Boston Quality Process Example of a Strong or Exemplary PracticeAuthentic and engaging work in the art form (e.g., visual arts, music, dance, theater, and media arts).EXAMPLES

Goals Materials Assignments and longer-term projects Processes and ways of working

Students in a high school jazz class get a score they have not played before (as might happen in a gig). They have 15 minutes to read it and prepare their individual parts. Then they work as ensemble to perform the piece once through. Their teacher and the students give notes on the run-through. They perform the piece a second time, adding improvised solos and addressing the challenges that they identified in the first performance.

Classroom climate and routines that create a safe and productive working environment.EXAMPLES

Physical and psychological safety Strategies that help learners manage their behavior and interactions Set-up of space and materials that facilitates learning

In a primary grades dance class, the cultural partner has worked out a series of routines that make it possible for an entire classroom of students to enter, remove their shoes, line up, warm-up, and then reverse the process, smoothly and quietly, leaving maximum time for dancing.

Opportunities to express personal ideas and experiences creatively.EXAMPLES

Creative choices in creating or executing works or performances Ownership and leadership (e.g., students choose repertoire, lead

sectional rehearsals)

In an elementary strings class, the cultural partner invites even beginning students to improvise short melodies and to experiment with the different sounds that their instruments can make.

Clear and high expectations and levels of challenge.EXAMPLES

Examples of student work at high levels Discussions/critiques/performance notes Connections to standards or expectations that will permit young people

to continue in the arts (e.g., portfolios, auditions, etc.)

In a rehearsal for a gospel choir, a group of students works on a song for an upcoming performance. For 30 minutes, their teacher insists that they work over and over again on sharp articulation and delivery of the lyrics, especially in very fast-moving sections.

Peer-to-peer collaboration with mutual respect.EXAMPLES

Informal exchanges More structured sharing (e.g., discussions and critiques) Ensemble practice, rehearsal, or collaboration

In a theater class at high school, students rehearsed their original works for a performance. They worked in small groups on their own, giving each other ideas for blocking and tableaus. Based on the suggestions they received, students tried various approaches to the blocking for their work, selecting the best.

Guidance and assessment practices that help students develop artistic skills, as well as original visions and voices. EXAMPLES

In middle school visual arts program teachers have developed a set of practices for modeling excellent work. In the classroom, students’ watercolors of birds are displayed to show a range of approaches and

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Individual conversations and “notes” following rehearsals or performances

Peer critiques Shared rubrics or criteria written in language learners can understand

and use Connections to what will be expected at the next level or in outside-of-

school

styles to that assignment. Students also keep portfolios of their work and then review it, selecting their strongest pieces for inclusion in new gallery spaces that have been created in the hallway outside the art classrooms.

Inclusion and support for all learners to produce excellent work.EXAMPLES

Physical set-up that facilitates access Differentiated instruction that allows full participation Support and respect

In an elementary music program, provided by a cultural partner, the children who have been selected are not just the most able. One student struggled socially and was painfully quiet. The lesson gave her a chance to have individualized attention and to participate in ways that did not require speaking.

Culturally proficient arts learning reflective of Boston’s ethnic and linguistic demographics.EXAMPLES

Repertoire and artists chosen from multiple cultures and traditions Opportunities to understand works and performances from range of

cultures Opportunities for students to draw on their knowledge and experience

Middle school students are working on a collage in which each one makes a quilt square to be assembled into a larger design. As part of the lesson, the teacher talks about the tradition of quilting and particularly its role among African-American women who made remarkable designs from scraps. She connects the improvised designs to jazz traditions, with different women “soloing” by making their versions of traditional patterns.

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BPS Arts Expansion Quality Review Site Visit Template

(To be completed by host and emailed to visitors and EdVestors)Visit Date & Time:

School Address:

Parking & T Directions:

Entrance Instructions:Where to meet host upon arrival:

Host InfoName

Phone Number (on day of visit)

Email Address

Visitor #1 InfoName

Phone Number (on day of visit)

Email Address

Visitor #2 InfoName

Phone Number (on day of visit)

Email Address

At least three days before each site visit the site visit team (the host and both visitors) should have their Pre-Observation meeting . This is when the observers and the observed establish the problem, or opportunity, of practice. These should be significant challenges or new initiatives where the insights of skilled colleagues can add insight and perspective

Pre-Observation MeetingParticipantsDate/TimeLocation

Host (Observed Teacher’s) Planning ToolDuring each site visit the visitor should do the following:

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1. Principal/School Leader Interview (20-30 minutes) This may need to be tailored to individual sites depending on whether the person has been interviewed previously.

2. Two Class Observations (full periods if possible, representing a range of classes and ages)

3. Student Interviews (20 minutes) These can be individuals or small groups of students from the observed classes.

4. Observation Debrief with observed teacher (30 minutes)

Scheduling Tips: - If possible, scheduling mini-breaks so observers can work on paperwork in between activities works

well- If scheduling visit around lunch time, let visitors know to bring lunch and schedule in time for them

to eat - When possible, it is best for the principal interview to occur after visitors get to know the school. - Student interviews should take place after you have observed those students in the class. - Debrief should be at the end of the day or within two days after the visit. The Debrief should be

conducted in person.

Please fill in the slots below with these activities and pertinent details. Activity 1:Participants

TimeLocation

Activity 2Participants

TimeLocation

Activity 3Participants

TimeLocation

Activity 4Observation Debrief(The site visit team should use the Post Observation Teacher Debrief form as a guide for their reflective conversation on how the day/class went.)

ParticipantsTime

Location

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After the Visit(Paperwork to be completed by the Visitors)

After the visit the Visitors will then fill out the Summary Sheet as well as the Profile of Arts Learning. Each visitor must fill out their own Profile of Arts Learning.The paperwork collected at the final meeting will be the following:

Running Record Principal Interview Profile of Arts Learning Summary Sheet (one per visitor pair)

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Problem of Practice/SMART Goal Conversation with Arts Teacher/ Cultural Partner

As a part of an effort to build arts education in the School District, EdVestors, and teams of teachers and cultural partners are working to collect information about the strengths and needs of schools, educators, and students in the arts.

We will be observing in your class or session as part of that work. As a part of helping us to focus, we would like to talk with you about your school and the one of the SMART goals/problem of practice that you are working on this year. (See the SMART Goal insert in the resources section of the binder, if you are unfamiliar with this approach.)

Describe the arts program at your school and how your work fits into that.

What SMART goal/problem of practice are you focusing on this year?

How does the lesson we will observe reflect the SMART goal(s) you have set for yourself?

How does the lesson we will observe fit into a larger unit of study? Into your goals for your students this year?

What circumstances (in the class, the school, the district) make this a particular challenge (e.g., lack of supplies, students enrolled in, rather than choosing the class, poor quality instruments, working in the lobby, etc.)?

What kind of feedback would be helpful?

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*Document to be turned in

Observer Name: _____________________________Person being Observed: ___________________________Partner Observer: _______________________

Low-Inference Observation for Quality Arts Learning p.____Context Date: _________ School: _____________ Class/Grade:_______________ Arts Discipline: _______

Instruction/Lesson: (e.g., where in the unit: intro, skills or practice, original work, rehearsal)

Physical Space, equipment, materials:

#/Type of Educators:

# of Students:

Time in2-minute intervals

Actions, speech, interactionT = Teacher, ED = other educators (intern, paraprofessionals, volunteers)S1, S2, etc. = Individual studentsG = Group of students

Dimension (fill in after observation is complete)

AEW: Authentic and engaging work in art form

Opp.Exp: Opportunities to express personal ideas and experiences creatively

CHE: Clear and high expectations and levels of challenge

Cli: Classroom climate and routines that create safe working environment

GA: Guidance and assessment practices that help students develop

I/S: Inclusion and support for all students, universal design

Cul Pro – Cult. proficient arts PtP: Peer –to-peer collaboration, mutual respect

Other:

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Time in2-minute intervals

Actions, speech, interactionT = TeacherS1, S2, etc. = Individual studentG = Group of students

Dimension (fill in after observation is complete)

AEW: Authentic and engaging work in art form

Opp.Exp: Opportunities to express personal ideas and experiences creatively

CHE: Clear and high expectations and levels of challenge

Cli: Classroom climate and routines that create safe working environment

GA: Guidance and assessment practices that help students develop

I/S: Inclusion and support for all students, universal design

Cul Pro – Cult. proficient arts PtP: Peer –to-peer collaboration, mutual respect

Other:

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*Document to be turned in

Observer Name: _____________________________Person being Observed: ___________________________Partner Observer: _______________________

Principal/Lead Teacher(s) Interview As a part of an effort to expand quality arts education in Boston, the District, working with EdVestors, and teams of teachers and cultural partners are working to collect information about the strengths and needs of schools, educators, and students in the area of teaching and learning in the arts. Since principals and teacher leaders play a key role in shaping the arts in their buildings we want to ask you the way you support the arts in this building.

For the purposes of this conversation, we are defining arts education as in-school teaching and learning in a wide range of art forms, including dance, music, theater, visual arts, creative writing, and media arts.

This interview is to collect information that complements the survey that you have already submitted to EdVestors. Questions marked with * are important to ask. Others are supplementary.

*1. Your name: _________________________________ Your school: ________________________________

*2. How long have you been in your administrative position? ______ How long have you been a principal at your current school? ________ How long did you teach? _______

*3. What’s your vision of the role that the arts should play in the life of your school? Who should be learning what? (If it does not come up, ask about the participation of children with special needs, including English Language Learners (Take notes).

What are the three biggest obstacles to reaching that vision at the building level? (Take notes).

1)

2)

3)

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*4. What do you do as a school leader to support arts learning in the school? (First get an overall answer and then check on any of the following items not mentioned. Take notes on specifics.)

Overall:

Scheduling Joint planning time for arts teachers Joint planning time for arts and other subject matter teachers Arrangements that allow children to take special or advanced classes during the school

day (e.g., individual or small group instrumental lessons) Other time uses that support arts learning

Special events Assemblies of special events that feature the arts Student Concerts Exhibitions of Student art work Family nights/Back to school nights that feature the arts Other types of events Making time to attend those events yourself

Making Special Purchases/Securing Donations Materials –ask for examples Equipment – ask for examples Others

Developing Partnerships with Cultural Partners (List the arts-relate partnerships in your school for the last five years, along with their durations). Circle the ones that you initiated, or played a role in bringing to the school.

Partner Duration

Partner Duration

Partner Duration

Organizing family volunteers in support of the arts (e. g., to go on field trips, to help build a stage, to sew costumes, etc.) (Take notes on specifics.)

Supporting Arts Integration. (Ask for specific examples.)

Other ways in which you support arts learning? (Take notes on specifics.)

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*5. Supports: Select and rank order the three areas in which you, as a principal or teacher leader, want professional support. (Begin with 1 for the support you want the most. Continue to 3 for the area where you need the least support.)

Being able to make the case for the arts Knowing how to supervise and supports arts teachers Identifying and getting the best from cultural partners Increasing the amount and quality of arts integration in the curriculum Assessing and improving student achievement in the arts Addressing the needs of different learners through the arts Other (please explain): _______________________

7. Rank the 3 arts disciplines you would like to expand or explore at your school (Begin with 1 for the discipline you are most interested in. Continue until 3 for the discipline you are least interested in exploring.) Say why you think this expansion could benefit the school.

Dance/Creative Movement (e.g. ballet, international folk dance, improvisational movement, contemporary dance, etc.)Why?

Theater (e.g. puppetry, storytelling, readers’ theater, creative drama, play production, etc.)Why?

Music (e.g. folk music, international drumming, instrument making, songwriting, etc.Why?

Visual Arts (e.g. clay, painting, filmmaking, mask making, murals, sculpture, drawing, weaving, printmaking, etc.)Why?

Creative writing/spoken word performanceWhy?

Media arts (digital photography and filmmaking, graphic design, etc.)Why?

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*6. Rank order the three most important things that the District could do to support arts learning in schools, even in a period of fiscal need? (Begin with 1 for the most important.)

1. Most important:

2. Next most important:

3. Next most important:

8. Describe you own background in the arts: (Take notes)

In which grades did you have arts experiences as a student?

Did you ever teach the arts? Or integrate the arts in your own classroom teaching?

At other schools where you have been an administrator, were you involved in starting or supporting any arts learning initiatives?

Are you personally involved in the arts in any way (e.g., as an amateur, as a parent, as a community member or volunteer, taking classes, attending workshops)?

Are there any additional questions that you think should be a part of interviewing principals about arts learning?(Take notes.)

Thank you for taking the time to talk to us.Your answers will help us to build stronger arts teaching throughout Boston.

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Student Interviews

*1. What did (teacher’s name) want you to learn or understand or think about today? (Encourage student to use the vocabulary of the class and the art discipline.)

*2. Why is this important (to know, be able to do)?

* 3. Tell me about something very hard/challenging that you have been doing in this class.

* 4. What would make this class better?

*5. How are you changing in this class? What is this class teaching you about yourself? How does your teacher help you to get better at (name of class)?

6. What new (additional) things do you want to learn if you keep doing dance/theater/music/art?

7. If you could change anything about your class, what would that be?

Take notes on answers on the other side if necessary:

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These questions take inspiration from the BYAEP youth arts evaluation framework and are designed to get student voices into the quality work. They are also informed by suggestions from the pilot visits to Boston Schools.

NOTE: These are interview questions that are tailored to talking with older students. Interviewers should feel free to reword questions for younger students. Interviewers can also speak with students (in groups of 2-3) together if students are more comfortable. Don’t forget to introduce yourself to the students and explain why you are interviewing them.

If students have work or scores (or if you take a temporary photo on your cell phone of the performance) it can be helpful, particularly for younger children. Be sure to delete it following the interview.

Questions marked with * are important to ask. Others are supplementary.

Please make sure that every student who is interviewed signs the student waiver on the following page.

As part of the BPS Arts Expansion Initiative’s Quality Review Study Group, I agree to be interviewed by the site visitors to my school. I understand that my participation is voluntary and that any information from the conversation will be used as part of summary data of the overall visit, and not attributable to any one individual. I also understand that specific responses will be held confidential and that I may stop the conversation at any point without any consequences.

Signed: ___________________________

School: ___________________________

Date: ___________________________

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Debrief and Discussion with Teacher/Cultural Partner Conversation

As we talked about earlier, I/we observed in your class or session today as part of Boston’s and EdVestors’ effort to build the quality of arts education in Boston. When we met before the visit, you shared your problem of practice/SMART goal (summarize). Let’s talk about today in light of that goal.

1) What are your reflections on how the classes we observed went today? What stood out for you? (Take notes.)

2) Here are 2 – 3 things that I noticed about (SMART goal/problem of practice). (Share specific examples from your notes.)

3) Here are 2 -3 strong practices that I observed:

4) Here are 2 – 3 areas where I think that your teaching and learning might expand or deepen. (Engage in conversation about these items, focusing on possibilities for practice, e.g., other strong practices you have seen in other classrooms, other programs, schools or teachers you would recommend, books, web sites, articles that might be of interest.)

5) How do colleagues in the building currently help you to think about these kinds of issues? (Take notes.)

6) How do educators in other buildings or cultural partners help you “grow” the teaching and learning that occurs in your classroom? (Take notes.)

7) What would support you in continuing to develop your practice in this area or in other areas?Profile of Arts Learning

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School Grade Art Form Period DateDimensions No

evidenceIn session

Little Evidence

SomeEvidence

Strong Evidence

ExemplaryEvidence

Authentic and engaging work in the art form

Evidence

Opportunities to express personal ideas and experiences creativelyEvidence

Clear and high levels of expectation and challengeEvidence

Peer-to-peer collaboration with mutual respectEvidence

Classroom climate and routines that create a safe and productive working environmentEvidence

Guidance and assessment practices that help students develop skills as well as unique visions and voicesEvidence

Inclusion and support for all students to produce excellent work through differentiated instruction and universal designs for accessEvidence

Culturally proficient arts learning reflective of the Boston’s ethnic and linguistic demographics Evidence

*Document to be turned inObserver Name: _____________________________Person being Observed: ________________________Partner Observer: _______________________

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Student Work/InterviewsNo Evidence

Emerging Basic Proficient Advanced

Overall quality of Student Creation/Performance (for grade level/moment in the unit or year)

Evidence: (You may wish to comment on separate dimensions)

No Evidence

Emerging Basic Proficient Advanced

Quality of Student Understanding (Interviews) (for grade level/moment in the unit or year)

Evidence: (You may wish to comment on separate dimensions)

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*Document to be turned in

Observer Name: _____________________________Person being Observed: ___________________________Partner Observer: _______________________

Summary Sheet: (To be filled out together by the team of observers)

Major Strengths/Strong Practices Observed at this Site that Could be Shared

1)

2)

3)

Major Areas for Professional Development/ Investment in Practices at School or Partner Level

1)

2)

3)

Additional Things We Learned in Our Visit

Implications for school-level Investment

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